Many thanks for the kind words! My apologies for not getting back sooner, I posted this a little later last night, then got up and did some trout fishing this morning.
I’ll try to answer some questions…. The carving designs were definitely influenced by original work. None of them are direct copies, but heavily influenced by original work, with different “twists” to designs to make them a little different. The shell/fan design behind the cheek is based on an original piece, and and the “C” and “S” scrolls emanating from that design are based on some of Bob Harnes work. I put the two together to come up with what you see on the rifle.
All the engraving I did (tang, breach, lock) are designs I came up with, and not really based on original work. Obviously, the chiseled designs on the furniture are “as cast” from an original rifle.
I struggle with design, and believe me, it doesn’t just “come to me”. There’s lots of iterations that are drawn before I ever put engraver to metal, or gouge to wood. Which is a good segue for those who voiced concerns about the quality of their work. For whatever reason, I’ve found there’s a HUGE correlation between drawing and carving/engraving. If you can draw nice, flowing designs, it’s going to be much easier for you to execute nice, flowing carving and engraving. This is about the time I’d hear a chorus of people saying something like “Well, that does it for me, I can’t draw worth a dang!” Remember, we’re not talking about recreating the Mona Lisa, we’re basically talking about “C” scrolls, “S” scrolls, and acanthus leaves, and their variations. Study original work from every source you can get your hands on, and draw them, a lot. If you have to, trace them out first, then try again free hand. The thing is, just like any other endeavor, is to practice as much as you can! You do that, and I can almost guarantee you’ll see an improvement in your work.
Dave asked about incised carving at Kempton this summer. I don’t think I’ll be doing any formal demonstrations/seminars on the subject, but do plan on having a work bench set up with a Quaker stock that I’ll be carving on all weekend. Anyone who’s attending is more than welcome to stop by and we can go through some techniques, questions, etc.
Someone asked about metal treatment…, for the furniture, most, I just scrubbed with a maroon scotch brite pad. For the guard, there were areas that needed to be filed for clean up. For those areas, I applied 44/40, which turns the brass black. I then scrubbed it back with a maroon scotch brite pad and some oil, which produced a good match with the rest of the piece.
The brass lock plate was treated with 44/40 after engraving, then scrubbed back as described above. The lock cock was treated with Super Blue, then rubbed back, same way.
The barrel tang was simply spray painted black, then rubbed back. The barrel was treated with Super Blue, then rubbed back. I wanted there to be more of a contrast between the barrel and tang, with the tang being more bright, but I don’t think that really happened.
Thanks again! Best,
Ed
